Senger Bamberg Kunsthandel
In the heart of the famous city centre of Bamberg, between the Cathedral and the Old Town Hall, the renowned family business Senger Bamberg Kunsthandel has been located for almost 50 years.
The beautiful, intact baroque old town of Bamberg, awarded with the UNESCO World Heritage title, offers the perfect ambience to our three historical galleries, including a Gothic cellar with sculptures.
In addition to our focus on Gothic sculptures you will find exquisite furniture from the 18th-20th century, paintings from the 15th-20th century and selected works of art.
We are also happy to help you with estimates and are always looking for the extraordinary.
Objects from Senger Bamberg Kunsthandel
House Altar with the Assumption of Mary
Southern Germany, Weilheim
Paintings dated 1793
Sculptures circa 1620
Wood, original polychromy, painting oil on copper.
The central representation of the Assumption of Mary is crowned by smaller paintings of God the Father and the Holy Spirit; in the predella painting with three angels and dating "1793". Elaborately carved architectural framing with sculptures of Saint Joseph with the Infant Jesus, probably an apostle, Saint James clothed as a pilgrim, a saint with sword and crown, and four angels.
Height: 103 cm, width: 51 cm, depth: 16.5 cm
Provenance: Cardinal-Meisner-Foundation, Cologne
Candle-bearing Angels - Master of the Rockelfinger Altarpiece
MASTER OF THE ROCKELFINGER/ WARTENBERGER ALTARPIECE
(active in the Munich region, c. 1510)
A PAIR OF CANDLE-BEARING ANGELS
Munich, c. 1510/15
Lime wood, sculptures in the round, originally unpainted
Height: 79 cm and 85 cm
Collection Benoit Oppenheim, Berlin (1842-1931); Collection cat. Nachtrag, 1911, no. 120/121. -
1939 on loan to the World Exhibition in New York -
1948 sold to the Saint Louis Art Museum -
since 2017 in private collections
Expertise: Dr. Benno C. Gantner
Literature: Benno C. Gantner: Die bewegte Geschichte des Gnadenbildes von Aufkirchen am Starnberger See. In: Ars Bavarica, vol. 89, Starnberg 2021, pp. 32 f.
Originalbildwerke in Holz Stein Elfenbein usw. Aus der Sammlung Benoit Oppenheim Berlin, Benoit Oppenheim (ed.), Nachtrag, Leipzig 1911, plate 63, no. 120 and plate 64, no. 121.
Triptych „Virgin and Child“ - Circle of Friedrich and Michael Pacher
Triptych “Virgin and Child”
South Tyrol, circle of Friedrich Pacher (South Tyrol, c. 1435 – after 1508 Bruneck)
and Michael Pacher (Tyrol, c. 1435 – 1498 Salzburg)
Panel paintings on gold ground
Central panel: The Virgin and Child with musical angels;
Wings, the inner faces: Saint Catherine of Alexandria; Saint Barbara;
the outer faces: The Annunciation; inscribed on the outer wing
(on the Archangel Gabriel’s banderole): ‘Ave maria Gr’
Measure closed: 47.4 x 38.5 cm; open: 47.4 x 78 cm;
central panel: 40.2 x 30.6 cm
Provenance: J.P. Weyhe, Cologne. - Achillito Chiesa, Milan; his sale, part IV, American Art Association, New York, 23 November 1927 (2nd day), lot 112, as 'School of Cologne'. - with Kleinberger, New York, 1928. - William Randolph Hearst (1863-1951), Hearst Castle, San Simeon, California. - Drey collection, until 1951. - with Paula de Koenigsberg, Buenos Aires, until 1961. - Since 1961 private collection.
Literature and Exhibitions:
Art Objects & Furnishings from the William Randolph Hearst Collection: A Catalogue Raisonné comprising illustrations of representative works, New York, 1941, p. 26, no. 1247-4, central panel illustrated, as 'Master of the Holy Kinship'.
Listed in the William Randolph Hearst Archive (the original held at Long Island University, New York), XX, p. 13, as 'The Master of the Holy Kinship'.
Exhibition New York, F. Kleinberger Galleries, Catalogue of a Loan Exhibition of German Primitives for the benefit of the American Red Cross, November 1928, p. 8, no. 12, with illustration.
Buenos Aires, Museo Municipal de Arte Hispano Americano, Exposición de obras maestras, siglos XII al XVII: colección Paula de Koenigsberg, May-July 1951, p. 19, no. 16, as 'The Master of the Holy Kinship', illustration plate V.
Nuremberg, Germanisches Nationalmuseum; Münster, Landesmuseum für Kunst und Kulturgeschichte, Sammlung Heinz Kisters: Altdeutsche und Altniederländische Gemälde, 25 June-17 November 1963, p. 12, no. 57, as 'Tiroler Meister um 1480', with illustrations.
Achim Simon: Österreichische Tafelmalerei der Spätgotik: der niederländische Einfluß im 15. Jahrhundert. Berlin 2002, p. 274, ill. 45.
The triptych with the central motif of Virgin and Child, flanked by two angels playing music and the Saints Catherine and Barbara, was created around 1475 in the circle of the South Tyrol artists Friedrich and Michael Pacher. The small, representative work with its precious gold ground served as a house altar for private devotion.
Positioned in the center is Mary, who keeps her son, who has already grown up beyond early infancy, on her lap. The little Jesus leafs through his mother's prayer book in a playful way, providing a charming image of lively toddler behavior. This composition is based on the so-called Durán Madonna by Rogier van der Weyden (today in the Museo Nacional del Prado, Madrid), which was created around 1435-1438 and quickly became widespread among the artists of the era through circulating pattern drawings and later copies.
The creator of the winged altar presented here has probably also used one of these highly popular templates, as an examination of the underdrawing suggests. A comparative analysis of other works that relate to Rogier's image creation suggests that the painter of this triptych used a follow-up version of the Durán Madonna as a model, which must have met the original in many details (see Achim Simon, 2002).
The not yet identified artist, however, by no means simply copied the image motif, but confidently translated it into his own style, which was strongly influenced by Friedrich and Michael Pacher. In doing so, he essentially implemented his own creative ideas. While for instance in Rogier's composition both mother and son are looking at the prayer book, in this triptych Christ actively seeks his mother's eyes, as if to make sure that his play with the book is allowed by Mary. This exchange of glances accentuates the natural innocence of the small child and at the same time emphasizes the deep bond between mother and son.
The inner faces of the wings depict on the left St. Catherine with her instruments of torture, the wheel and sword, and on the right St. Barbara with the martyr's palm and the attribute of the Eucharistic chalice and Host, which from the second half of the 15th century on increasingly supplemented, or, as in this case, even replaced the tower traditionally associated with her. The two Holy Virgins belong to the circle of the "Fourteen Holy Helpers", who were particularly venerated in the late medieval and early modern period. Among other things, St. Barbara was invoked for her protection against an unexpected death. St. Catherine was believed to be an intercessor of girls and women and patroness of schools and universities.
The facial features of mother and child, but also of the two saints, are reminiscent of South Tyrolean works from the sphere of influence of Michael Pacher. Also the frail, almost skinny infant Jesus corresponds to a type common in Tyrol. In contrast, the clearly structured execution of the body proportions, in particular the distinct plasticity and static attitude of the female saints, points to the Flemish influence through the popular antetype.
When closed, the triptych shows an Annunciation scene, which stylistically indicates a Tyrolean origin even more strongly than the motifs on the inside. Mary kneels at the prie-dieu, her gaze lowered humbly, while the ageless Archangel Gabriel, his right hand pointing to the Holy Spirit, delivers the good news to her. The fine hair and the round face with a high forehead give the Virgin an aura of youthful innocence, while the voluminous folds of her blue cloak emphasize her royal dignity.
The iconographic topics of Virgin and Child, the female saints and the Annunciation to Mary are not only thematically, but also in their artistic implementation characterised by a feminine tenderness. So it seems likely that the work could have been commissioned by a woman.
This makes the small triptych not only an impressive testimony of personal piety in the late Middle Ages, but also a vivid example of the lively exchange and the widespread dissemination of artistic ideas within Europe.
Twelve Relief Medallions of the Apostles of Jesus
Upper Italy, 17th century
High oval medallions set in profiled frames with baroque ornaments,
with delicately carved breastpieces of the Twelve Apostles, each with attributes.
Height per medallion about 15.5 cm
Provenance: Private collection of the furniture manufacturer Karl Leonhard Bembé (1870-1921), Mainz.
Mark Taschowsky - Projektor
Oil on canvas
Dimensions: 105 cm x 130 cm
(born 1972 in Frankfurt, grown up in Dortmund)
EDUCATION: 1996-2001 Studies at the Hochschule für Bildende Künste Braunschweig with Prof. Hermann Albert.
2002 Diploma in Fine Arts. 2003 working scholarship of the Hofbrauhaus Wolters, in the Künstlerhaus Meinersen. 2013 International Painters Symposium, Dunaharaszti, Hungary. 2018 Working scholarship, Guanlan Printmaking Base, China.
Hercules and Omphale - Lucas Cranach the Elder
LUCAS CRANACH THE ELDER AND WORKSHOP
(Kronach 1472 - 1553 Weimar)
HERCULES AT THE COURT OF OMPHALE
Wittenberg, circa 1535 - 1538
Signature: serpent with lowered wings in yellow colour,
on the upper right edge, above the shoulder of Omphale
Oil on wood
height: 83 cm, width: 120,8 cm, depth: 0,7 cm
Expert report by Prof. Dr. Gunnar Heydenreich, 19.09.2018
Cranach Digital Archive: http://lucascranach.org/PRIVATE_NONE-P321
Provenance: Collection Stemmler Cologne;
Kunsthaus Lempertz, Auction 468, Cologne, 17.05.1962, Lot 42;
Private collection, Bamberg, since 2007.
The Adoration of the Magi
The Adoration of the Magi
ANTWERP MANNERIST, circa 1520
Panel painting, oil on wood, cradling on the reverse
Height: 109 cm, width: 70.5 cm
Provenance: private collection, Southern Germany
Literature: Max J. Friedländer: Die Antwerpener Manieristen von 1520. In: Jahrbuch der königlich preußischen Kunstsammlungen 36 (1915), pp. 65–91.
See the publications of the exhibition ExtravagAnt! A forgotten Chapter of Antwerp Painting 1500-1530, Koninklijk Museum vor Schone Kunsten Antwerp, 15 October – 31 December 2005, Antwerp 2005. URL: https://www.codart.nl/guide/agenda/extravagant-antwerpse-schilderijen-voor-de-europese-markt-1500-1525/
The painting of the Adoration of the Magi was created around 1520 by a painter from the group of the so-called Antwerp Mannerists.
The scene is set in the ruins of a richly decorated temple, which offers a view of a city with a surrounding mountainous landscape in the background. In the centre sits Mary, with brown hair and a dark blue cloak. The Infant Jesus on her lap seems touchingly small and delicate. Joseph, with grey hair and beard, is standing behind the two of them, obviously absorbed in conversation with one of the companions of the Wise Men. The holy kings, who present their gifts in filigree decorated gold vessels, symbolize both the three continents known at that time and the three ages of men. The king kneeling to the right in front of mother and child stands for Europe and the old age, the king placed on the left, with turban and an orientally dressed servant in the background, represents Asia and the middle age, while the black king at the right side embodies Africa and youth.
The term Antwerp Mannerists, introduced by the art historian Max J. Friedländer, covers a number of artists from the first third of the 16th century who practiced an extremely decorative and detailed style, which was not, however, influenced by the Italian Mannerism of the time, but had developed from the late Gothic traditions of early Netherlandish painting, which is characterised by its attention to detail, up to the quasi-photorealistic reproduction of surface structures and landscapes.
The great success of Antwerp Mannerism was closely linked to the rise of Antwerp to one of the most flourishing commercial centres in Europe. Around 1500, the city was a central hub of international trade. This also fuelled the art market and offered ideal conditions for painters who created their altars and panel paintings specifically for export.
The theme of the Adoration of the Kings was particularly suitable for this, as it was very popular and in demand throughout Europe. The depiction of the three wise men opened up a multitude of creative possibilities, starting with the imaginative design of exotic garments, which wrapped the figures in extravagant drapery, to the splendid gifts, to the fantastic architecture, which combined Gothic and Renaissance motifs in eclectic splendour.
The style of these compositions is ornate and extravagant, naturalistic reproduction or even realism took a back seat in favour of the decorative effect. Antwerp Mannerism created representative and highly modern showpieces of the period between 1500 and 1530 - a "fashion statement", so to speak, of this turbulent epoch of transition from late Gothic to Renaissance.
The painterly execution is technically virtuoso. The Antwerp Mannerists paid more attention to the meticulous depiction of a variety of details, some of them densely packed, than to the monumental overall effect of their pictorial compositions. This was and is the secret of the paintings' success: they offer the viewer the opportunity to immerse him or herself in an abundance of interesting supporting scenes and to discover numerous surprising subtleties.
The painting presented here is an excellent example of the artistic skill, precision and inventiveness of the Antwerp Mannerists, who did not sign their paintings and therefore, with few exceptions, are to this day not known by name.
Antwerp, circa 1520
Oak wood, reverse flattened, old polychromy
Height: 72 cm
Provenance: Weinmüller Exhibition catalogue, Plastik, Gemälde, Kunsthandwerk, Nov. 3 to Nov. 12, 1966, cat. No. 43.
Adoration of the Magi - Hans Klocker Workshop
WORKSHOP OF HANS KLOCKER
(before 1474 – South Tyrol - after 1500)
ADORATION OF THE MAGI
South Tyrol, probably Brixen, circa 1490
High relief, lime wood, traces of the original polychromy and gilding
Height: 123 cm, Width: 115 cm, Depth: 27 cm
Provenance: Museé von Stolk, auction Amsterdam, May 1928.
Literature: Musée van Stolk, fondé à la Haye en 1902: 300 sculptures et tableaux Xe - XVIe siècles, objets de vitrine, art textile, etc; la vente aux enchères publiques aura lieu à Amsterdam dans la Grande Salle de Ventes de Frederik Muller & Cie., les 8 et 9 mai 1928 - Amsterdam, 1928, Lot 86, p. 14, ill. 86.
Theodor Müller: Gotische Skulpturen in Tirol, Bozen/ Innsbruck/ Vienna 1976, compare no. 153, p. 440.
Alexander von Humboldt - Filippo Biganzoli
(1823 – Milan – 1894)
ALEXANDER VON HUMBOLDT
Milan, circa 1873
Signed lower left "Biganzoli F." and inscribed at the base "A. Humboldt".
Height: 93 cm, base: 23 x 25 cm
Literature: United States Centennial Commission. International Exhibition 1876. Official Catalogue. Part II, Art Gallery, Annexes, and Outdoor Works of Art, Dep. IV. - Art., 2nd edition., Philadelphia 1876, p. 118.
Allgemeines Lexikon der Bildenden Künstler, Thieme, Becker (Ed.), Leipzig 1910, vol. 4, p. 19.